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Concertino

Concertino

With its energetic impetus and imposing instrumentation, Concertino is certainly outstanding in the oeuvre of Árpád Balázs. Among his compositions for concert band, it is by far the most engaging and exacting work. Passing away and a will to live are simultaneously present in Concertino, which Árpád Balázs composed in memory of his beloved father. Its structure brings Liszt’s Hungarian Rhapsodies to mind: its solemn opening, which returns at the end,is followed by a slow and a fast movement. The funereal music of the slow movement evolves from a motif of Bach’s St. Matthew Passion with enormous intensification equal to the lament in Grieg’s Peer Gynt.

SEK 2169.00
1

Prevision (CD incl.) : Rhapsody for Fanfare

Prevision (CD incl.) : Rhapsody for Fanfare

The work Prevision has been composed in a freefantasy form. Sunk in thought the composersketches his prevision: the development of hissmall grandson growing up to be an adult man.After a brilliant introduction, a slow march follows,which symbolises the first steps toward adulthood.Aspects such as love and a sense of security, thatare indispensable for a positive development, arepresented in a calm middle section, after which anenergetic closing part refers to the rebelliousnessof an adolescent. The grand finale of Previsionexpresses the grandfather’s and composer’spositive picture of the future.

SEK 2119.00
1

The Big Apple, Part II - Gotham

The Big Apple, Part II - Gotham

An ode to New York. The Big Apple is a musical representation of the spirit, the glamour and the unfriendliness of one of the most fascinating cities in the world. Listening to this symphony is as exciting as a visit to Manhattan. The listener is never allowed a moment’s peace, even the tranquil slow passages are accompanied by an ostinato rumbling in the background. As in the City there is never a quiet moment. This edition contains only the second movement of this epic work.

SEK 2417.00
1

The Big Apple, Part I - Skyline

The Big Apple, Part I - Skyline

An ode to New York. The Big Apple is a musical representation of the spirit, the glamour and the unfriendliness of one of the most fascinating cities in the world. Listening to this symphony is as exciting as a visit to Manhattan. The listener is never allowed a moment’s peace, even the tranquil slow passages are accompanied by an ostinato rumbling in the background. As in the City there is never a quiet moment. This edition contains only the first movement of this epic work.

SEK 2417.00
1

Prevision (CD incl.)

Prevision (CD incl.)

The work Prevision has been composed in a freefantasy form. Sunk in thought the composersketches his prevision: the development of hissmall grandson growing up to be an adult man.After a brilliant introduction, a slow march follows,which symbolises the first steps toward adulthood.Aspects such as love and a sense of security, thatare indispensable for a positive development, arepresented in a calm middle section, after which anenergetic closing part refers to the rebelliousnessof an adolescent. The grand finale of Previsionexpresses the grandfather’s and composer’spositive picture of the future.

SEK 2119.00
1

Prevision (CD incl.) : Rhapsody for Concert Band

Prevision (CD incl.) : Rhapsody for Concert Band

The work Prevision has been composed in a free fantasy form. Deep in thought the composer sketches his prevision - the development of his small grandson growing up to be an adult. After a brilliant introduction, a slow march follows, whichsymbolises the first steps toward adulthood. Aspects such as love and a sense of security, that are indispensable for a positive development, are presented in a calm middle section, after which an energetic closing part refers to the rebelliousnessof an adolescent. The grand finale of Prevision expresses the grandfather’s and composer’s positive picture of the future.

SEK 2119.00
1

Tanczi : Three Russian Dances

Tanczi : Three Russian Dances

This suite was written in the style of traditional Russian folk music, but does not use existing melodies or themes as its basis. The colourful and varied work contains a number of surprising turns, but also familiar sounds. After the introduction, a kind of Trepak follows ? a fairly quick dance with attractive themes. The second movement (Garovot) is predominantly slow and conveys some melancholy, although, during a more dynamic passage the passion flares up again. Finally, the Troika takes us along in a reindeer sleigh through a grand snowy landscape. This is a wonderful tribute to the music of Eastern Europe in the style of some of the great Russian masters.

SEK 2119.00
1

Concerto for Trumpet No. 1 'Trumpet Town'

Concerto for Trumpet No. 1 'Trumpet Town'

A rapid flourish in 12/8 time opens composer Otto M. Schwarz' first Concerto for trumpet Trumpet Town, written in October 2009. The metric changes that follow affect the pulse rhythmically and melodically, in exciting and unexpected ways. The solo trumpet’s displays of technical prowess and bravura alternate with the film-score-like tutti sections of the brass ensemble. The slow, almost elegiac, central section can be performed on the flugelhorn, while the closing reprise demands that both the soloist and the orchestra give of their best as the piece comes to an exciting, colourful, and uplifting finale. Soloist: Difficulty 5This piece is also available for trumpet andpiano.

SEK 2119.00
1

The Curse of the Mermaid

The Curse of the Mermaid

The Curse of the Mermaid tells the story of a greedy and wealthy fisherman wanting to make money in any way possible. When his business starts to fail, he puts the blame on the mermaids. One day, the fisherman kills a mermaid, who casts a spell on him shortly before she disappears into the water. The composition is in the form of a symphonic poem, starting slow and then mysteriously opening up revealing a fantastic colourful world of sounds and motion. There are various moments during the piece where the composer includes broad and beautiful melodic material, as well as surprising effects and great rhythmical interest. This is a challenging but great piece for concertsor contests!

SEK 2298.00
1

Ungaresca

Ungaresca

Hungarian-style dance music which flourished in the 16th and 17th centuries - generally referred to as ungaresca - represents a valuable part of European musical tradition. István Gy rffy's work (2007-2010) is a late successor of this tradition. It was written with the intention of embodying the eastern-central European tradition in order to present an alternative to the current fashions of music for wind instruments. The composer's approach to this style utilizes traditional forms of music. Both the first and third movements effectively optimize a concert band's tonal possibilities by using solos and small chamber groups in a varied manner. The slow and melodic second movementtransfers a characteristic playing technique of Hungarian instrumental folk music to the concert band.

SEK 2169.00
1

Toccata Festiva

Toccata Festiva

‘Toccata Festiva’ was commissioned in 1994 by the Dutch Brass Band Championships. The wind band version was made a year later by the composer himself. Historically speaking, the toccata is considered to be one of the first independent instrumental forms for keyboard instruments. Originally the toccata was typically more or less improvised, later this musical form was given a more regulated structure. Both elements are used in the ‘Toccata Festiva’: on the one hand the different themes are developed freely, on the other, the piece has an orderly structure. It is in a three part form (quick-slow-quick) and includes both strong rhythmical figures and broad melodic lines. Partof the composition is written in a more or less archaic tone idiom, referring to the period from which the toccata form originates (16th century).

SEK 2298.00
1

Toccata Festiva

Toccata Festiva

‘Toccata Festiva’ was commissioned in 1994 by the Dutch Brass Band Championships. The wind band version was made a year later by the composer himself. Historically speaking, the toccata is considered to be one of the first independent instrumental forms for keyboard instruments. Originally the toccata was typically more or less improvised, later this musical form was given a more regulated structure. Both elements are used in the ‘Toccata Festiva’: on the one hand the different themes are developed freely, on the other, the piece has an orderly structure. It is in a three part form (quick-slow-quick) and includes both strong rhythmical figures and broad melodic lines. Partof the composition is written in a more or less archaic tone idiom, referring to the period from which the toccata form originates (16th century).

SEK 2298.00
1

Sinfonietta no. 1 : for wind orchestra

Sinfonietta no. 1 : for wind orchestra

Sinfonietta No. 1 was originally written for brass band, commissioned by the Dutch National Championships 2011 in Groningen. It also served as the test piece for the Swiss National Championships 2011 in Montreux, Switzerland. In 2012, Johan de Meij created this version for wind orchestra.Unlike most of Johan de Meij's compositions, Sinfonietta No. 1 is an abstract, non-programmatic work. It consists of three movements, in which the thematic material of the opening measures - an upward fifth jump - returns in various shapes and forms throughout the piece. The slow middle section features solo passages by cello, English horn and bassoon, all starting with thesame fifth jump. The final movement presents an Elgar-like march theme, interspersed with quotes from the second movement, and ending with the opening theme of movement I.

SEK 3011.00
1

Toccata Festiva

Toccata Festiva

‘Toccata Festiva’ was commissioned in 1994 by the Dutch Brass Band Championships. The wind band version was made a year later by the composer himself. Historically speaking, the toccata is considered to be one of the first independent instrumental forms for keyboard instruments. Originally the toccata was typically more or less improvised, later this musical form was given a more regulated structure. Both elements are used in the ‘Toccata Festiva’: on the one hand the different themes are developed freely, on the other, the piece has an orderly structure. It is in a three part form (quick-slow-quick) and includes both strong rhythmical figures and broad melodic lines. Partof the composition is written in a more or less archaic tone idiom, referring to the period from which the toccata form originates (16th century).

SEK 2298.00
1

Mitt hjerte alltid vanker - Fantasi : Fantasy on My Heart remains in Wonder

Mitt hjerte alltid vanker - Fantasi : Fantasy on My Heart remains in Wonder

This arrangement was commissioned by B3 (The Bergen Woodwind Ensemble). B3 is a large woodwind ensemble located in Bergen with a mix of professional and amateur players. My Heart Remains in Wonder is a well-known Christmas hymn in Scandinavia. I wanted my version to be different to the traditional hymn tune style in which it is normally performed. One day I was outside walking and this idea came to me: an ostinato-like, mechanical skeleton of arpeggio semiquavers on which I could 'hang' the melody. However, I also wanted to do the melody line a bit different. The inspiration for this comes from folk music and the way fiddlers hardly ever lift their bow off the strings when they play. Because of this, it is important that the melody is played in a very sostenuto style in this arrangement. The harmonies lie somewhere between jazz and folk music with a little nod towards Grieg (himself heavily influenced by folk music) in the slow middle section.

SEK 2383.00
1

The Gospel Mass

The Gospel Mass

The Gospel Mass-a mass for mixed choir, combo and concert band-is based on the gospel music that has spread throughout the world since its creation in America. After Missa Brevis and Missa Katharina this is the third mass fromthe pen of Jacob de Haan. The movements of the mass ordinary as we know it have now been composed in various pop styles that have their origin in the gospel music. We hear, then, not only the classic American gospel style (including thecharacteristic clapping and swing rhythms), but also freer gospel styles that have developed over the course of time. The Credo, for example, is a ballad with rock and funk influences. The Agnus Dei is heard as a slow blues-a genreclosely linked to gospel music. The unique feature of this work, of course, is in the combination of all these pop and gospel elements with the Latin liturgy of the Kyrie, Gloria, Sanctus, Benedictus and Agnus Dei, which results in abeautiful, cohesive whole. As far as we know, The Gospel Mass is the only true gospel mass.

SEK 3854.00
1

Concerto for Trumpet No. 1: Trumpet Town : for Solo Bb Trumpet & Orchestra

Concerto for Trumpet No. 1: Trumpet Town : for Solo Bb Trumpet & Orchestra

Composer Otto M. Schwarz completed his first Concerto for trumpet in October 2009. Schwarz displays a special knack in writing for this instrument, thanks to his trumpet studies undertaken with Professor Josef Pomberger at the Music Conservatory in Vienna. Concerto for Trumpet No. 1 ‚Trumpet Town’ was commissioned by the police-orchestra of Upper Austria, under the baton of Andreas Schwarzenlander. The work was premiered on 17 November 2009. The soloist for the evening was trumpeter Franz Wagnermeyer, who also studied at the Vienna Conservatory and who currently performs with, amongst others, the international group “Ten of the Best”. A rapid flourish in 12/8 time opens Concerto for Trumpet No. 1 ‘Trumpet Town’. The metric changes that follow affect the pulse rhythmically and melodically, in exciting and unexpected ways. The solo trumpet’s displays of technical prowess and bravura alternate with the film-score-like tutti sections of the brass ensemble. The slow, almost elegiac, central section can be performed on the flugel horn, while the closing reprise demands that both the soloist and the orchestra give of their best as the piece comes to an exciting, colourful, and uplifting finale. This piece is also available for trumpet and piano.

SEK 2148.00
1

Symphony Nr. 3 Urban Landscapes Op. 55 : for Wind Orchestra, World Set (no ESS)

Symphony Nr. 3 Urban Landscapes Op. 55 : for Wind Orchestra, World Set (no ESS)

Fascinated by the beauty of Chicago, Franco Cesarini has translated his emotions into music: this is how Symphony No. 3 “Urban Landscapes” Op. 55, was born, a musical portrait of this metropolis overlooking Lake Michigan. The composition is divided into three movements: The Wrigley Building from Dawn to Noon, Blue Silhouette and Cloud Gates, which by sharing the same thematic material arranged in cyclical form, strengthen the overall cohesion of the piece. The first movement, preceded by a short slow introduction in which the main theme is presented in an almost dreamlike form, metaphorically represents the city at dawn. The sudden change of time symbolizes the start of activities with all its noises and sounds: you can hear the bell that announces the closing of the subway doors, the sound of cars speeding by, the siren of a patrol car. If the first movement represents the day, the second introduces a nocturnal environment: a melancholic melody played by the English horn anticipates a more animated tempo depicting melodies coming from jazz clubs. Powerful fanfares that take up the second theme of the first movement introduce the third movement. In this finale, the role of the two themes is reversed compared to the first movement and one takes the place of the other in a kind of games of mirrors. Symphony No. 3 “Urban Landscapes” Op. 55: a sumptuous musical portrait of the “Windy City”.

SEK 4994.00
1

Credentium

Credentium

A spectacular dive via an extended chromatic scale immediately submerges us in a charged and somewhat archaic-feeling atmosphere. Trumpets, horns and trombones resound in rhythmic patterns, buttressed by restless motifs in the percussion. A second theme, in the woodwinds, begins much calmer but is quickly pushed aside by that same brass offensive. This introduction is the musical expression of the sometimes tumultuous early history of the town of Peer in Belgium. It closes with a D scale played over two octaves and repeated three times, symbolizing the church steeples that dominate the townscape. Peer has the credentials of a town, and people should know about it.There followsa rhythmic, turbulent passage: in the course of history, Peer has not been spared the ravages of war, arson, occupation, epidemic and other evils. In contrast, a slow, pastoral, lyrical part expresses the periods of peace and prosperity the town has known, as well as the serene geographic setting that still characterizes the place. Various instruments in groups are developed in solo style while the accompaniment displays vast, painterly images of sound. Now and then an exotic intonation is heard: a variety of peoples and cultures have left their mark on the town.This episode of tranquility and peacefulness comes to a sudden end when, via a surprising, almost chaotic transitional passage, we are in effect transported back to our own time. A hopeful, festive march expresses the confidence in the future that the Royal Concert Band of Peer exudes. This confidence is wholly justified: under the direction of conductor Willy Fransen, the 95 members of the concert band have experienced an extended period of good fortune, and the 75 musicians of the youth band - and the 45 little musicians of the mini-band - are involved in thriving operations.

SEK 2684.00
1

Credentium

Credentium

A spectacular dive via an extended chromatic scale immediately submerges us in a charged and somewhat archaic-feeling atmosphere. Trumpets, horns and trombones resound in rhythmic patterns, buttressed by restless motifs in the percussion. A second theme, in the woodwinds, begins much calmer but is quickly pushed aside by that same brass offensive. This introduction is the musical expression of the sometimes tumultuous early history of the town of Peer in Belgium. It closes with a D scale played over two octaves and repeated three times, symbolizing the church steeples that dominate the townscape. Peer has the credentials of a town, and people should know about it.There followsa rhythmic, turbulent passage: in the course of history, Peer has not been spared the ravages of war, arson, occupation, epidemic and other evils. In contrast, a slow, pastoral, lyrical part expresses the periods of peace and prosperity the town has known, as well as the serene geographic setting that still characterizes the place. Various instruments in groups are developed in solo style while the accompaniment displays vast, painterly images of sound. Now and then an exotic intonation is heard: a variety of peoples and cultures have left their mark on the town.This episode of tranquility and peacefulness comes to a sudden end when, via a surprising, almost chaotic transitional passage, we are in effect transported back to our own time. A hopeful, festive march expresses the confidence in the future that the Royal Concert Band of Peer exudes. This confidence is wholly justified: under the direction of conductor Willy Fransen, the 95 members of the concert band have experienced an extended period of good fortune, and the 75 musicians of the youth band - and the 45 little musicians of the mini-band - are involved in thriving operations.

SEK 2684.00
1

Per Nørgård: Symphony No. 6 (Score)

Per Nørgård: Symphony No. 6 (Score)

Per NørgårdSYMPHONY NO. 6AT THE END OF THE DAYfor orchestra, 1997-99Preface / Programme Note?? with the Lord a day is like a thousand years, and a thousand years is like a day?(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Göteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean ?when all is added up?. However, in my opinion, nothing ever quite adds up, there is always ?something? missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still ?something?, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of ?other worlds?, is revealed ....The symphony is dedicated to Helle, my wife.Per Nørgård

SEK 2134.00
1